Confédération Internationale des Accordéonistes (CIA)Member International Music Council (IMC-UNESCO)

60TH ANNIVERSARY COUPE MONDIALEJointly hosted by CIA Members

Accordionists and Teachers Guild, International (ATG)American Accordionists’ Association (AAA)

August 13-18, 2007Alexandria, VA

(Washington DC) - USA

2007 CIA Coupe Mondiale Test Piece

Op. 67

forAccordion Solo

by Karen Fremar

Karen Fremar, Ph.D., is a published composer of works for accordion, and has also composed chamber works utilizing the accordion and works for accordion orchestra. Her other compositions include works for solo voice, SATB choir, orchestra, string quartet, brass ensemble, woodwind quintet, mixed chamber works, solo piano, and electronic music works. Fremar is the composer of the 1981 Coupe Mondiale Test Piece, Reflections.

Fremar studied composition with Gerald Kemner at the Conservatory of Music, University of Missouri-Kansas City. While a graduate composition student, she taught in the Conservatory’s Electronic Music Lab and in the music theory program. She studied composition at the University of Kansas with John Pozdro, and completed interim session study with Milton Babbitt. Fremar was an Assistant Instructor of Music Theory at KU. Her degrees include the Bachelor of Music-Accordion Performance (with distinction) and the Master of Music-Composition from the University of Missouri-

Kansas City; the Master of Music-Philosophy and the Doctor of Philosophy in Music Theory from the University of Kansas. Her doctoral dissertation was a study of the life and works of the 18th-century Austrian composer, Marianna Martines. Her edition of Martines’s Sinfonia has been performed world-wide by symphony orchestras. Fremar won the 1974 CIA International Competition for Virtuoso Entertainment Music in Stockholm, Sweden. In the same year, she placed 3rd in the Coupe Mondiale and won the Swedish award for the best performance by a female candidate. In Chicago, she won the 1974 United States Accordion Solo Championship (AAA), as well as the United States Accordion Duo Championship (AAA) with Jeff Lisenby, also a United States Solo Champion (ATG). Fremar began playing the accordion at age two, as a student of her mother, Margie Fremar, and first performed publicly at the age of 2 1/2. Formal piano and percussion studies followed thereafter, culminating in studies with Joanne Baker (piano) and Charmaine Asher-Wiley (percussion). At age 14, as leader of the Teen Tones accordion ensemble, she won auditions and appeared on the nationally televised Ted Mack Original Amateur Hour in New York. At age 16, she won auditions at the Shenandoah Conservatory of Music in Winchester, Virginia, to perform as a percussionist and featured accordionist with the All-Students Groups U.S.A., presenting concerts in 12 countries throughout Europe. Fremar studied accordion at the University of Missouri-Kansas City with Joan Cochran Sommers. She performed in concert with the University Orchestra as a three-time winner of the University's Concerto-Aria competition, toured the Pacific with the Accordionaires for the U.S.O., and was concertmaster of the UMKC Accordion Orchestra. Professionally, Fremar played and arranged music with Lisenby for their duo, Karen and Jeff; and was performer/arranger for many years with her jazz combo, The Kansas City Sound. Fremar has performed with the Kansas City Philharmonic, the Kansas City Symphony, and the Tulsa City Orchestra for Luciano Pavarotti’s World Farewell Tour. She has served on International Accordion Juries for the CIA, and the Accordionists & Teachers Guild, International, and has adjudicated for the American Accordionists' Association, as well as numerous other competitions. Fremar has also served as an adjudicator for piano competitions, including serving as Assistant to the International Jury for the XII Gina Bachauer International Piano Competition in Salt Lake City, Utah.

For competition guidelines and further information, please visit www.coupemondiale.org

Fantasy, Op. 67for Accordion

Karen Fremar, 2006Allegro

© Copyright 2006, Karen Fremar

B.S.*

.= ca. 72

B.B.

ff

4

B.N.

mf

legato

7

p

10

B.S.= Bellows Shake B.N.= Bellows

Normal

13

16

19

22

25

mf

gliss.

2

28

31

f

mf

34

37

40

mp

legatissimo

poco

3

43

a

poco

crescendo

46

f

49

mf

legatissimo

52

55

mf

4

59

63

mf

67

f

p

legato

71

mf

gliss.

75

5

79

mp

poco

a

poco

83

f

mf

Agitato

crescendo

87

mf

f

91

f

f

mf

mp

95

mp

p

6

99

mp

Meno mosso

legato

104

rallentando

107

mf

Largamente . = ca. 54

cantando

111

sostenuto

115

mf

sostenuto

7

119

mf

rallentando

123

f

a tempo

127

131

135

f

scherzoso

8

138

mf 5

141

mp

145

S.B.

p

d

dm

d m m

B.B.

149

morendo

B.B. pp

153

Espressivo e rubato = ca. 69

3 3

mf

9

156

3

ritenuto

159

ca. = 72

p

pp

mp

Con sentimento

ritard

163

f

mf

166

f

169

mp

p

a tempo

3

rallentando

10

173

f

mf

pp

attacca

3

calando

177

mp

Allegro misterioso, e ritmico = ca. 108

f

p

martellato

181

f

mf

B.S. B.N.

p

mf

f

f

186

B.S. B.N.

f

p

mp

190

legato

f

11

194

B.S.

mf

f

B.N.

mp

legato

198

mf

202

p

f

B.S.

sfz

206

B.N. B.S.

mf

B.N.

mp

Agitato con intensità

sfz

210

12

214

poco

218

f

a

poco

crescendo

non legato

222

mp

B.S.

mp

B.N.

B.S.

S.B.

f

f

226

ff

palm

gliss

B.N.

mf

229

13

233 =

f

f

Furioso

non legato

CM

236

239

=

a poco

crescendo

242

ff

G

b

Mm

14

245

16

17

eG Mm

247

a

C Mm

249

16

17

G7

251

Risoluto = ca. 80

f

*

poco

a

B.B.

rallentando

* Ricochet* Ricochet

poco

15

255

a temponon ricochet

rallen

accelerando

rallentando

259

ff

Maestoso . = ca. 56

=

tando

S.B.

F Mdm

262

fp

ff

attacca

B7

rallentando

A7

B

7

264

mf

Vivace . = ca. 92

B.B.

non legato

267

f

mf

16

271

f

poco

275

poco

a

crescendo

279

fff

283

sfz

Duration ca. 5' 50"

S.B.

February 25, 2006

17

The Fantasy was inspired in part as a musical personification of the struggle of mankind vs.technology, and the increasing controls technology places on our lives. The composition is aone movement work in three sections, with a coda. The work features bitonality and is attimes chromatic in nature, but revolves around a tonal center. Thematic material is derivedfrom the opening secundal harmonic structure and is also constructed by means of a specialnote selection process. Both techniques of melodic writing are highlighted at times by use ofa synthetic scale that is the outgrowth of the bitonality. The exploitation of the interval of a2nd is underpinned harmonically by a mixture of secundal, quartal-quintal, added tone, andtall chord (jazz) structures.

The opening section of the work may be described as an eerie and, at times, dissonant waltzover an ostinato bass, that hesitantly and briefly evolves into a grand jazz waltz only todissipate back into dissonance and rhythmic interplay of a melodic second interval.

An imitative middle section features an expressive theme over a chromatically descendingbass line with added tone, tall chord, and quartal-quintal harmonies.

In the final section, thematic and rhythmic motivic elements from the first section are sampledin a rhythmic Allegro that utilizes rhythmic shifts, mixed meters, and bitonalty to furtherdevelop the motivic material. The section builds to a Maestoso featuring a grand statement ofthe expressive theme from the middle section over increasingly dissonant harmonicstructures. A final Vivace erupts with the opening passagework in bitonality, interspersed withsecundal harmonic accents, and ultimately culminates in a declamatory statement of thesecundal melodic motive.

Test Piece Duration: ca. 5' 35"

The

For c

The 2007 Coupe Mondiale is being jointly hosted by

Accordionists and Teachers Guild, International, (ATG)www.accordions.com/atg

The American Accordionists’ Association (AAA)www.ameraccord.com

ompetition guidelines and further information, please visit www.coupemondiale.org